And therefore many variables are at play.
Eq for vinyl master.
For me this stage is to enhance the character of the track.
It consists of a mono stereo image up to 150hz a tamed high end and if needed a track listing that is consistent with the frequency limitations of record cutting.
Adding character with an analogue emulation eq in my workflow this is the final stage of shaping the master.
See tip 9 below a tape emulator such as kramer master tape or a bass enhancement plugin like maxxbass.
Mastering for vinyl is the process of creating a separate master that can be cut into a vinyl record without added unwanted distortion.
The reason they do that is that the lathe doesn t like essy.
Without going into its entire history audio signals are cut into the vinyl master with a reduced low end and boosted highs.
If it sounds toppy.
It depends how far you want to go with your vinyl master but if you ve mastered it correctly it should translate straight to a cutting lathe and they wouldn t need to put any filters on it.
The fact is though that the eq considerations offered as being necessary for vinyl are pretty much a desiderata for most decent digital masters too.
Roll off some 100 150 hz.
Just like a human engineer it builds a custom master tailored to the unique features of each song from hip hop to edm.
I ll head over to my analogue emulation eq usually the uad manley massive passive and make a start on the final tweaks.
The only way to make sure your master is ideally suited for the vinyl format is by hiring a professional mastering engineer to pre master your material for vinyl.
Try an eq cut around 3 8 khz.
Transcript mp3 so vinyl masters.
Everything else is in place and sounding great.
This is especially apparent because of vinyl s riaa eq curve standard.
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Emastered applies the same professional studio processes like eq compression saturation and many more giving you professional sound for a fraction of the cost of studio mastering.
There s no reason why you should need a different master for vinyl than you do for cd or streaming.
If it sounds boomy.
For example extreme sibilance often mentioned certainly is a problem for vinyl but then it s hardly desirable for cd playback either.
Other ways of combatting thinness are to use a classic analog eq or a plugin modeled on one.
Consequently turntables have an inverse eq curve which results in flat frequency response on playback like in the image below.
